Boosting the fundamental tone of the kick & tomtoms by 2dB while cutting that fundamental on the other shells is pretty much a go-to for me. Still, I find it quite an exercise to EQ a tomtom groove correctly so it has punch, tone, dynamics, and sustain when the drummer uses his/her kick, snare (snares off), Tm1, Tm2, TmF1 & TmF2, well, the whole nine yards actually.
High Passing, Boost and cut on unflattering areas and Low passing too! And I have done what a mastering engineer told me to high pass from the lowest instrument (usually kick for me) from around 30hz...
I recently learned to not be afraid of drastic EQ moves, if necessary. Go ahead an cut/boost by 10dB, why not, if it helps. Cutting a bit of ~500Hz is something I regularly do on the overheads or room.
Dude, you are like the embodiment of "You don't get paid for your time, you get paid for your experience". The ease with which you clean that up and get it banging, even without compression etc.. Awesome.
Hi Warren, I have followed along for many videos in your mixing basics series and your longer discussion videos. I am happy to say my mix for a brand new song is sounding great, between you and Rick Beato my passion for music and song writing has been restored after a long depression. Thank you.
Of all of your videos Warren, this should be a "sticky" at the top of the list! So many non-pros get this wrong, yet there is not much real world, simple demonstration such as what you have done beautifully here. Watching someone demonstrate this concept a few years back was THE biggest boosts to my self taught mixing. One note to those starting on this concept, be mindful of trying to make things sound good soloed individually like you are hearing here... it's more about getting rid of what's not needed or adding what's missing then sounding good individually soloed. I thought the EQed floor tom sounded wrong in this video, but when Warren played it in the full drum mix, it was brilliant! What sounds great soloed isn't always what works best in the mix and vice versa.
Thanks Warren! A video on EQing alternate percussion, like shakers, tambs, and African percussion, particularly about leaving room for the vocals in the EQ would be fantastic too !
Fine tuning those ears to get it used to the right mix and keep that as a template for getting your best mix every time. Great Tutorial Warren. Thanks for the Trade Secrets, on how to Fine tune your mix, to get that perfect mix on drums. Dropping it down to the Bare essentials, What you can do if limited with not enough mics or Out of Track Spaces that you can use. Well done.
At San Francisco City College the instructor there didn't let us boost anything -- it was only cutting allowed. So, it was boost, sweep, and cut with the parametric EQ, and cutting with the low and high pass filters. This was an intro course, of course, and really didn't cover much about mixing, just basic tracking.
Great video, as always! For years I found recording the drums the most daunting undertaking in my home studio. It felt like such a complicated subject that I was sure I was never going to wrap my head around it. I almost wanted to avoid the whole thing. But slowly but surely things started to improve. The two biggest factors I found that got the snowball rolling, was getting to grips with phase correlation, and getting better at tuning the kit. Both those things were truly eye openers. Suddenly I didn't have to try to frantically "repair" while mixing, resulting in a much more natural, punchy sound. I'm in no way saying I'm an expert at recording the drums now, but things have improved a lot. Now, recording the drums is my favorite thing to do in my studio. Keep up the good work, mr Huart!
That floppy room mic sound is awesome for building a few harmonics that you then crunch up and use to layer. I love that energy i get from saturation on hp room mics.
hey Warren, I would love to hear how you go about archiving sessions post release as well as keeping backups of projects as I find it can get overwhelming. Also, thanks for your videos!
Wow, really helpful, nice to see that you can and should be brave enough to make cuts and boosts so extreme where needed. As ever Warren you open my eyes to what is possible. Great!!
not sure what you did warren, but video quality on this video is insanely awesome! new lighting? or new camera? or Glenn's help? or just filming in 4k now? in any case great job! in any case great tutorial as always!
I like Warrens' videos because they act as a good confirmation of my own methods, being generally in line with what I do already. This is really useful when you spend your life working more or less in isolation. I am based in rural Wales and Spain and don't get to meet up with many engineers/producers so I spend most of my time having to work it out for myself and these videos just help me to know that I'm working along the right lines. There are also the occasional extra tips and little tricks to try out that help - Really useful stuff, no ego, no mess just straight forward advice - thank you.
I have a simple array of drum mics.... *imagines kick, snare, overhead pair* ...2 x kick drum mics, 2 x snare mics, rack, floor, 2 x overheads, 1 x hats, 16 x room mics, 2 omni anbients in the next room, individual crash, ride and crash ride, a mono behind the drummer low down near the floor, 2 x PZM’s on the wall, etc. 4 channels = simple. Over 6 = complex...
And 2 great free plugins by Sonic Anomaly: transpire and Bass Professor Mark ii can help you shape the drums and Bass together after you get them properly eq'd. These are 2 of my favorite plugins, and I often use them on the Drum and Bass busses to either help me get that kick/bass solid punch in a mix or sometimes to add a little more dirt to the Bass. The transient button on Bass Prof gives a nice finger punchy sound on Bass VSTi's also.
I was thinking but what about people with only 1 mic on BD, SD.And then you demoed just using one mic. Great Stuff Warren! I love your back to basics videos. Even for more experienced mixers there's always great tips here. What a great community this is! Many thanks for your hard work!
Drums in your clip here remind me of "Hurts So Good", particularly kick and snare. Sounds really good, nice to hear you talking about concepts like this that are super helpful to allow us to understand that sometimes the answer isn't an expensive plug in, but using what you already have in a better way. Thanks!
I use snare top/kick batter/kick front/stereo overheads (5 tracks total) and am really happy with what I'm getting. (Ludwig maple drums/Remo heads and Zildjian A Custom Cymbals). I copy the overhead tracks and edit out everything but the tom fills. Blended with the rest of the original tracks, I find I can really get the toms to cut through and process them however I want without affecting any other instruments. Best part is minimal mics gives me minimal phase issues.
Great video! Drums sound amazing! I hesitated recording all my songs because I didn't think I had enough gear. Then I found your channel and I'm having the time of my life recording and mixing my songs. God bless you for encouraging and inspiring all of us!
Just while I'm mixing drums, this video pops up! This can't be a coincidence! I always wonder... When would you decide to use samples? Is that before mixing or during mixing?
This was extremely helpful! I had thought that I had my perfect snare sound and then I messed with EQ just for a few minutes and realized my "perfect" snare could've been so much better! I was also experimenting with subtracting with one EQ and boosting the same freq with another style EQ and I couldn't believe my ears, I definitely discovered something. Thank you for these videos Warren, love em.
Thanks, Warren, great tips as always. Your process, and especially the sequence you go through (starting with kick, snare, toms, through to HH and OH) are exactly what I do every time with drums. I was interested to see if you would address the "other" technique of using the overheads as the primary picture of the kit, only using close mics as reinforcement as necessary. You essentially began to step into that near the end, but would be interesting to hear your thoughts on 'overhead-dominant' versus 'close-mic dominant' techniques. I've never had a large drum room to record in, so in my well-damped live room I tend to use close-mic strategy (often with a room mic and maybe a 'wurst' mic for character). Might I be correct that the overhead-dominant technique would only work well in a large drum room where you can take advantage of good acoustics to get a good, balanced full kit sound in the overheads?
Hey Warren, I do much the same(with the same EQ) but I usually make the LF band a bell setting. Doing that instead of pushing a low shelf against the hi-pass feels a little more intuitive(the freq. setting seems more precise in my mind). Great stuff, none the less. Keep sharing the knowledge!
Warren, do you ever do with the kick what you do on the bass, i.e., have a 'high' track and a 'low' track, so you can process them differently? For example, in this case you have the click from the inside mic, but you still boost the 60Hz on that, even though you get lows from the outer mic. Thanks!
Thanks Warren, great video.............unrelated to drums, but just bought a Sansamp DI Bass Driver V2 and wondering if you use one, and if so what setting you prefer
It was great seeing how you approach eq on drums. Im right in the middle of mixing drum tracks right now and so I appreciate the EQ video very much. I''ve tended to take a split EQ approach to my Kick and Snare by only highlighting the bits I want with each Kick and Snare track and then balancing to get my sound. Thanks again for another great video. Cheers!
As always Warren, a great, informative video. Thanks for all the time and energy you put into your uploads. As a newbie to mixing all this info is like gold dust. Been many years on the other side of the glass, and left this side to the experts....lol. Again, thank you.
I always start with the overheads first when mixing. Getting a decent centered full image of that seems helpful for me. Obviously it depends on how the kit was recorded/where the mics were set. But placing the o/h where if you pan them hard l/r, should ideally give you this. Definitely agree with the hi-passing on stuff that doesn’t need the same info as the kick, just ends up eating your headroom as well as taking away focus. Great video as always! Cheers from the woods in Ontario!
Great Warren, you do a lot of mixing for your tutorials away from your main monitors. What are you using here, are the the I loud micros? and most importantly do the eq decisions you make on these translate to your seriously good main monitors? 😀
Very helpful as always, that notch-and-sweep trick to find ugly areas is the first thing I do on every track. What mic were you using on the snare during this session? The hihat bleed on it is basically non existent! Same goes for the hihat mic, there's no bleed at all!
Ctrl+shift and you can solo each band (hpf and lpf too) in the stock Avid EQ plugin. A very handy feature. Much better than sweeping with boost or cut applied. My 2 cents. PS: it also works with bandwidth too... PPS: you can do the same "trick" with the TDR Nova eq, a very nice plugin with lotsa features (dynamic eq etc) and its free
Thank you as always for these videos. I really appreciate how “friendly” you are with the tutorials and it really shows how much you enjoy what you do. Keep up the fantastic work!! Have a wonderful day! :)
great insight Warren. i have had an issue with harshness on drums but quality of mics is prob also a factor. akg session ones. 1 kick, 1 snare top, OH pair, toms. going through ada8200 into RME digiface input to ableton. stock eq8. thanks for advice given here.
Very smooth walk-through, regardless of probable differences in taste, I can always relate to your intention. Eventually, I can learn the most on un-common ground. Obviously the first step in EQ-ing was already mastered: drummer's playing suits the intended genre.
Fantastic vid! Really getting down to the nitty gritty of where to EQ. I’m sure more regular followers than myself will know the answer to this question... I know the vid was specifically about EQ, but noticed you didn’t apply gates. I would normally apply gates to mics that are more easily gated, like the internal bass drum or snare bottom - is this something you’d normally suggest not to do? Thank you so much as always for sharing all that you do. All the best M
Is the boost and cut same areas idea working similarly to how a pultec would work but just with the stock plugins or is there something different in how the different EQ'S effect the sound when doing that?
A great video Warren. This one really made a difference to my mixing practices. Other EQ basics videos would be so helpful on all the other main instruments too, like bass, keys, guitars and vocals. But thanks so much for this one. 👍
Great video Warren! are you recorded this drums with some compression at the begining? what is you process chain to record drums? filter-compression-EQ? or compression-Filter-EQ? THANKS!!!!
The only thing I'd highlight is the practice of sweeping the eq: I agree with Mike Stavrou who deems that sweeping is confusing to the ears: make sure that you always A/B any eq setting by switching it in/out for the selected frequency, and try to avoid the sweep where possible. You will develop a better feel for the freqs to boost/cut if you avoid sweeping. There is an argument for "sneaking up" to a frequency, but make the movements very small when you're doing that...
Thanks Warren! I was mixing drums for the Lewitt mixing contest. EQ basics for drums!! such a good reminder. My go-to-drum EQ tricks? Hmmmm, let me think... Produce Like A Pro!! :-)
Cheers mate, this definitely helped my recent mix, I got it sounding decent quickly without too much trouble. The problem I'm having with recording and mixing drums is that my drums end up sounding really dark (especially the snare!). Now, I generally like the tones I'm getting, but as soon as I compare my mix to a commercial track, it becomes obvious that my drums are way too muffled. Maybe I'm just shy to boost highs and upper mids? I saw you boosting quite mercilessly in the video, maybe I just have to give it a go and not worry too much.
Hi Warren. Thank you for so much great information. I would love to hear your recommendations for EQ settings in a Glyn Johns setup. The drums are a 4-piece DW Collector's Maple series set with coated ambassador heads. A bit of moongel on the toms (12" rack and 14" floor). SM57 on SNR (5-1/2 x 14), AKG D112 on KIK (18' x 14 tuned low) and 2 Aston Origin mics as the overheads.
Hi Warren , thanks for share your knowledge, for me is very useful. I have a question, do you use gates in the drum Mixing? for example to eliminate sound from hi hat and kick in the snare mics? Greetings from Colombia.
Hi! Thank you for your videos. Everything is very clear, and simple. What about the balance after equalization? Do I need to compensate for the level change after the equalizer?
Subjective question: Why do you and so many people have the Hats before the Toms in the track order? Always made sense for me have my toms after snare and before hats, have a split between shells and cymbals, but I see so many put Tom tracks after hats and I don't know why. If you were to spot mic the other cymbals, would you place them between hats and toms or between toms and Oh's?
really cool video, that 100Htz boost on snare is an ace, usually I look more for troubled frequency on Room and OH to take away roominess! thanks for this awesome video. Is there a little compression on Snare top on the way in?
Elijah...I can't speak for Warren, but I would say eq it so it sounds good. The fundamentals of what he is showing will be the same and if it sounds good to crank or cut like mad do it...don't be afraid or timid...you can always go back. I've watched Chris Lord Alge use multiple channels of eq because he wanted more high end out of a snare drum and we all know he loves him some compression! just my .02
its funny when you mentioned the 220hz which is Neve frequency very used on snares...I use a plugin called PSP Classic Q which its basically an emulation of the 1073 ...and even if try another eq points on snares ..it always comes down to that freq. area. 7 out 10 times end up using Psp classic Q just for that. Very interestingly most of the albums I love where mixed using 1073 eqs, so we can say thats the sound im always aiming for.
@@Producelikeapro Yeah they are. I tried using the Waves API for some time and the only use I could give to the 550a was on some Rhodes and specially toms. But the Neve eq points never has failed for me. That type of eq , plus a pultec style eq and I can mix an entire album very confident.
Funny, I watched this 2 years ago I think. I had no idea what you were doing. Lots of training later, it all makes sense and I'm happy to notice I do the same things as you mostly. In a different order, I Highpass before I bring up any lowend. Also I cheat a bit with transient designers, but that's not eq so it's a bit off topic. Edit: haha uploaded Nov 4 2019 ! I can't have watched this 2 years ago. But I remember videos of you, and I was puzzled. I'm happy now I watch videos of you and you don't speak an alien language anymore.
Great job Warren!!!! As eq is related to tones, I suggest any drummer to do solfeggio, so their tone/pitch is developed, so you can tune your drums (beside the handy tunetools nowadays). Psp Audioware has a handy plugin for use it on not so well tuned drums:PSP hertzrider...;)
You can also duplicate the overheadstrack and cut the toms out with nice fade in fade outs...Or in another phase of your mixingprocess: add samples than on those tomtracks and even tune them to the original...:)
Excellent! Inspiring video, as always Warren :D someone would say that some of the eq moves are pretty drastic, but as you often say, you should always listen with your ears, not your eyes. A question: do you ever use gate on drums, for example on kick or snare, where there's a lot of cymbal bleed, because then you could boost some higher frequencies to get the sometimes wanted clickeeness? if yes or no, why? thanks again for these great videos, cheers from Croatia :D
Hi Warren - great video, great technique - so the question I have is would I apply this "focused" or "surgical" eq before I compress or after. I know and understand the arguments for pre or post compression but I have had really great eq'd drums when soloed but get buried when full band comes in; without compression. Also, if I apply compression after EQ it, of course, changes the sound of a finley EQ'd set. Thoughts?
What are your go-to drum EQ tricks?
Boosting the fundamental tone of the kick & tomtoms by 2dB while cutting that fundamental on the other shells is pretty much a go-to for me. Still, I find it quite an exercise to EQ a tomtom groove correctly so it has punch, tone, dynamics, and sustain when the drummer uses his/her kick, snare (snares off), Tm1, Tm2, TmF1 & TmF2, well, the whole nine yards actually.
Cleaning up the tracks with High Passing just like you did!
High Passing, Boost and cut on unflattering areas and Low passing too!
And I have done what a mastering engineer told me to high pass from the lowest instrument (usually kick for me) from around 30hz...
I recently learned to not be afraid of drastic EQ moves, if necessary. Go ahead an cut/boost by 10dB, why not, if it helps.
Cutting a bit of ~500Hz is something I regularly do on the overheads or room.
@@Am6-9 I agree 100%!! Talking with so many amazing Mixers they will do whatever it takes to make the tracks sound good!
2:17 Kick In
5:02 Kick Out
6:28 Snare Top
8:46 Snare Bottom
10:56 Hi Hat
12:11 Toms
14:56 Overheads
16:24 Room Mics
Thanks ever so much!!
Dude, you are like the embodiment of "You don't get paid for your time, you get paid for your experience". The ease with which you clean that up and get it banging, even without compression etc.. Awesome.
Aw shucks thanks ever so much Brian! You Rock!
Hi Warren, I have followed along for many videos in your mixing basics series and your longer discussion videos. I am happy to say my mix for a brand new song is sounding great, between you and Rick Beato my passion for music and song writing has been restored after a long depression. Thank you.
Of all of your videos Warren, this should be a "sticky" at the top of the list! So many non-pros get this wrong, yet there is not much real world, simple demonstration such as what you have done beautifully here. Watching someone demonstrate this concept a few years back was THE biggest boosts to my self taught mixing. One note to those starting on this concept, be mindful of trying to make things sound good soloed individually like you are hearing here... it's more about getting rid of what's not needed or adding what's missing then sounding good individually soloed. I thought the EQed floor tom sounded wrong in this video, but when Warren played it in the full drum mix, it was brilliant! What sounds great soloed isn't always what works best in the mix and vice versa.
Thanks Warren! A video on EQing alternate percussion, like shakers, tambs, and African percussion, particularly about leaving room for the vocals in the EQ would be fantastic too !
Love the basic stuff for we poor chaps and chapesses with only a few mics. This is really helpful to me. Thanks
Fine tuning those ears to get it used to the right mix and keep that as a template for getting your best mix every time. Great Tutorial Warren. Thanks for the Trade Secrets, on how to Fine tune your mix, to get that perfect mix on drums. Dropping it down to the Bare essentials, What you can do if limited with not enough mics or Out of Track Spaces that you can use. Well done.
At San Francisco City College the instructor there didn't let us boost anything -- it was only cutting allowed. So, it was boost, sweep, and cut with the parametric EQ, and cutting with the low and high pass filters. This was an intro course, of course, and really didn't cover much about mixing, just basic tracking.
Great video, as always! For years I found recording the drums the most daunting undertaking in my home studio. It felt like such a complicated subject that I was sure I was never going to wrap my head around it. I almost wanted to avoid the whole thing. But slowly but surely things started to improve. The two biggest factors I found that got the snowball rolling, was getting to grips with phase correlation, and getting better at tuning the kit. Both those things were truly eye openers. Suddenly I didn't have to try to frantically "repair" while mixing, resulting in a much more natural, punchy sound. I'm in no way saying I'm an expert at recording the drums now, but things have improved a lot. Now, recording the drums is my favorite thing to do in my studio. Keep up the good work, mr Huart!
That floppy room mic sound is awesome for building a few harmonics that you then crunch up and use to layer. I love that energy i get from saturation on hp room mics.
never hurts to go back to basics.. Thank you Warren.. Cheers!
Thanks ever so much David!
hey Warren, I would love to hear how you go about archiving sessions post release as well as keeping backups of projects as I find it can get overwhelming. Also, thanks for your videos!
Hello Warren, thanks for this great video.Very well described. But do you remember what other microfons were used? Thanks.
Wow, really helpful, nice to see that you can and should be brave enough to make cuts and boosts so extreme where needed. As ever Warren you open my eyes to what is possible. Great!!
You're very welcome Andrew!!
I'm always looking for tricks on live drum mixing. So thanks for more great tips!
not sure what you did warren, but video quality on this video is insanely awesome! new lighting? or new camera? or Glenn's help? or just filming in 4k now? in any case great job! in any case great tutorial as always!
Yes I thought thew same thing
I like Warrens' videos because they act as a good confirmation of my own methods, being generally in line with what I do already. This is really useful when you spend your life working more or less in isolation. I am based in rural Wales and Spain and don't get to meet up with many engineers/producers so I spend most of my time having to work it out for myself and these videos just help me to know that I'm working along the right lines. There are also the occasional extra tips and little tricks to try out that help - Really useful stuff, no ego, no mess just straight forward advice - thank you.
Thanks ever so much Philip! You Rock my friend!!
I have a simple array of drum mics....
*imagines kick, snare, overhead pair*
...2 x kick drum mics, 2 x snare mics, rack, floor, 2 x overheads, 1 x hats, 16 x room mics, 2 omni anbients in the next room, individual crash, ride and crash ride, a mono behind the drummer low down near the floor, 2 x PZM’s on the wall, etc.
4 channels = simple.
Over 6 = complex...
Yes, indeed! If you follow the video all the way through you'll see I use 4 mics quite often to show the drum sounds!
And 2 great free plugins by Sonic Anomaly: transpire and Bass Professor Mark ii can help you shape the drums and Bass together after you get them properly eq'd. These are 2 of my favorite plugins, and I often use them on the Drum and Bass busses to either help me get that kick/bass solid punch in a mix or sometimes to add a little more dirt to the Bass. The transient button on Bass Prof gives a nice finger punchy sound on Bass VSTi's also.
I was thinking but what about people with only 1 mic on BD, SD.And then you demoed just using one mic. Great Stuff Warren! I love your back to basics videos. Even for more experienced mixers there's always great tips here. What a great community this is! Many thanks for your hard work!
Excellent tips !
Thank you Warren !!
Drums in your clip here remind me of "Hurts So Good", particularly kick and snare. Sounds really good, nice to hear you talking about concepts like this that are super helpful to allow us to understand that sometimes the answer isn't an expensive plug in, but using what you already have in a better way. Thanks!
@@pare4918 Good one! : )
@@pare4918 Haha nicely done! Hahaha
@@fredfox3851 Haha indeed!
Thanks ever so much Brian for your kind words my friend!
Great Video! Could you please make another thats shows how you would compress the tracks? I'm also curious if you gate your kick and snare.
JJ Hams definitely! Wanted to do very basic steps!
I use snare top/kick batter/kick front/stereo overheads (5 tracks total) and am really happy with what I'm getting. (Ludwig maple drums/Remo heads and Zildjian A Custom Cymbals). I copy the overhead tracks and edit out everything but the tom fills. Blended with the rest of the original tracks, I find I can really get the toms to cut through and process them however I want without affecting any other instruments. Best part is minimal mics gives me minimal phase issues.
Thanks so much Warren, I mix live in a church and we just got a new acrylic drum kit. I had to brush up on mixing.
Great video! Drums sound amazing! I hesitated recording all my songs because I didn't think I had enough gear. Then I found your channel and I'm having the time of my life recording and mixing my songs. God bless you for encouraging and inspiring all of us!
Couldn’t have uploaded this at a better time. Just about to start mixing drums for my bands single!
Cheers dude
That's amazing to hear!! So glad to be able to help!
Produce Like A Pro your videos have helped a lot. Would love to work with you at some point in the future 🤘🏻
Awesome video Warren! Drums sounds great! Those cuts and boosts really made a huge difference. Thanks for sharing!
Just while I'm mixing drums, this video pops up! This can't be a coincidence!
I always wonder... When would you decide to use samples? Is that before mixing or during mixing?
This was extremely helpful! I had thought that I had my perfect snare sound and then I messed with EQ just for a few minutes and realized my "perfect" snare could've been so much better! I was also experimenting with subtracting with one EQ and boosting the same freq with another style EQ and I couldn't believe my ears, I definitely discovered something. Thank you for these videos Warren, love em.
Great to see you back in the studio. :) Love these basic intro vids, never cease to learn something from them. 🤘🏻🥁
Thanks, Warren, great tips as always. Your process, and especially the sequence you go through (starting with kick, snare, toms, through to HH and OH) are exactly what I do every time with drums. I was interested to see if you would address the "other" technique of using the overheads as the primary picture of the kit, only using close mics as reinforcement as necessary. You essentially began to step into that near the end, but would be interesting to hear your thoughts on 'overhead-dominant' versus 'close-mic dominant' techniques. I've never had a large drum room to record in, so in my well-damped live room I tend to use close-mic strategy (often with a room mic and maybe a 'wurst' mic for character). Might I be correct that the overhead-dominant technique would only work well in a large drum room where you can take advantage of good acoustics to get a good, balanced full kit sound in the overheads?
Hey Warren, I do much the same(with the same EQ) but I usually make the LF band a bell setting. Doing that instead of pushing a low shelf against the hi-pass feels a little more intuitive(the freq. setting seems more precise in my mind). Great stuff, none the less. Keep sharing the knowledge!
Warren, do you ever do with the kick what you do on the bass, i.e., have a 'high' track and a 'low' track, so you can process them differently?
For example, in this case you have the click from the inside mic, but you still boost the 60Hz on that, even though you get lows from the outer mic.
Thanks!
He did it. Go check his channel out for more!
Thanks Warren, great video.............unrelated to drums, but just bought a Sansamp DI Bass Driver V2 and wondering if you use one, and if so what setting you prefer
Always love it when there's free stuff! Ha ha! Very useful video Warren - I particularly liked the tom sound, seems to be tuned very nicely indeed!
Great video.Thanks. The drummer is very well balanced, so there is not too much bleed and hits are even troughout the song.
Fantastic! Did you get get to download the tracks?
@@Producelikeapro I' m on it
It was great seeing how you approach eq on drums. Im right in the middle of mixing drum tracks right now and so I appreciate the EQ video very much. I''ve tended to take a split EQ approach to my Kick and Snare by only highlighting the bits I want with each Kick and Snare track and then balancing to get my sound.
Thanks again for another great video. Cheers!
Just so immediately useful, fantastic. Thanks Warren !
You’re very welcome
As always Warren, a great, informative video. Thanks for all the time and energy you put into your uploads.
As a newbie to mixing all this info is like gold dust. Been many years on the other side of the glass, and left this side to the experts....lol.
Again, thank you.
I always start with the overheads first when mixing. Getting a decent centered full image of that seems helpful for me. Obviously it depends on how the kit was recorded/where the mics were set. But placing the o/h where if you pan them hard l/r, should ideally give you this.
Definitely agree with the hi-passing on stuff that doesn’t need the same info as the kick, just ends up eating your headroom as well as taking away focus. Great video as always! Cheers from the woods in Ontario!
Great Warren, you do a lot of mixing for your tutorials away from your main monitors. What are you using here, are the the I loud micros? and most importantly do the eq decisions you make on these translate to your seriously good main monitors? 😀
Very helpful as always, that notch-and-sweep trick to find ugly areas is the first thing I do on every track.
What mic were you using on the snare during this session? The hihat bleed on it is basically non existent! Same goes for the hihat mic, there's no bleed at all!
Ctrl+shift and you can solo each band (hpf and lpf too) in the stock Avid EQ plugin. A very handy feature. Much better than sweeping with boost or cut applied. My 2 cents.
PS: it also works with bandwidth too...
PPS: you can do the same "trick" with the TDR Nova eq, a very nice plugin with lotsa features (dynamic eq etc) and its free
I'm a little late to the party but wow!! Invaluable information! And man did I need this. Thanks so much 🤩
Hi Warren, great vid. do you recommend using the presets in the 7 band eq?
Thank you as always for these videos. I really appreciate how “friendly” you are with the tutorials and it really shows how much you enjoy what you do. Keep up the fantastic work!! Have a wonderful day! :)
great insight Warren. i have had an issue with harshness on drums but quality of mics is prob also a factor. akg session ones. 1 kick, 1 snare top, OH pair, toms. going through ada8200 into RME digiface input to ableton. stock eq8. thanks for advice given here.
Very smooth walk-through, regardless of probable differences in taste, I can always relate to your intention. Eventually, I can learn the most on un-common ground.
Obviously the first step in EQ-ing was already mastered: drummer's playing suits the intended genre.
Fantastic! EQ Basics!
Thanks ever so much!!
Fantastic vid! Really getting down to the nitty gritty of where to EQ. I’m sure more regular followers than myself will know the answer to this question... I know the vid was specifically about EQ, but noticed you didn’t apply gates. I would normally apply gates to mics that are more easily gated, like the internal bass drum or snare bottom - is this something you’d normally suggest not to do? Thank you so much as always for sharing all that you do. All the best M
Basic or not, there's always something I learn or at least remember. Thanks alot!
Hi Peter Brandt I hear you! I enjoy being reminded of even the simple things!
I love these videos. Very helpful. Thank you, Warren.
Just starting to learn about recording drums, what a fantastic video! Extremely informative, Thank you!
Do you always do your eq first in the chain?
That's a really clean kit, after the EQ. I would argue it doesn't even need compression.
Great! Thanks ever so much!
Is the boost and cut same areas idea working similarly to how a pultec would work but just with the stock plugins or is there something different in how the different EQ'S effect the sound when doing that?
hey Warren. have you tried the FabFilter Pro bundle? what do you think of that?
A great video Warren. This one really made a difference to my mixing practices. Other EQ basics videos would be so helpful on all the other main instruments too, like bass, keys, guitars and vocals. But thanks so much for this one. 👍
Great video Warren! are you recorded this drums with some compression at the begining? what is you process chain to record drums? filter-compression-EQ? or compression-Filter-EQ? THANKS!!!!
I really appreciate this (and all of the shared knowledge). So much to learn, yet so much room for creativity. Thanks for the files too.
Love your fabulous style!
Yes! Basic is great, glad to be able to understand it
The only thing I'd highlight is the practice of sweeping the eq: I agree with Mike Stavrou who deems that sweeping is confusing to the ears: make sure that you always A/B any eq setting by switching it in/out for the selected frequency, and try to avoid the sweep where possible. You will develop a better feel for the freqs to boost/cut if you avoid sweeping. There is an argument for "sneaking up" to a frequency, but make the movements very small when you're doing that...
Thanks Warren! I was mixing drums for the Lewitt mixing contest. EQ basics for drums!! such a good reminder. My go-to-drum EQ tricks? Hmmmm, let me think... Produce Like A Pro!! :-)
Cheers mate, this definitely helped my recent mix, I got it sounding decent quickly without too much trouble.
The problem I'm having with recording and mixing drums is that my drums end up sounding really dark (especially the snare!). Now, I generally like the tones I'm getting, but as soon as I compare my mix to a commercial track, it becomes obvious that my drums are way too muffled. Maybe I'm just shy to boost highs and upper mids? I saw you boosting quite mercilessly in the video, maybe I just have to give it a go and not worry too much.
Hi Warren. Thank you for so much great information. I would love to hear your recommendations for EQ settings in a Glyn Johns setup. The drums are a 4-piece DW Collector's Maple series set with coated ambassador heads. A bit of moongel on the toms (12" rack and 14" floor). SM57 on SNR (5-1/2 x 14), AKG D112 on KIK (18' x 14 tuned low) and 2 Aston Origin mics as the overheads.
Love these videos.Thank you Warren!
Thanks ever so much Michael!!
I've been going kick, Beta 52 (just inside), and single overhead, C1000, for years
Hi Warren , thanks for share your knowledge, for me is very useful. I have a question, do you use gates in the drum Mixing? for example to eliminate sound from hi hat and kick in the snare mics? Greetings from Colombia.
Fantastic video Warren, thank you for your always amazing teachings and free samples --Josh
at 15:00 you can hear people noises in the OH tracks hehe
Hi! Thank you for your videos. Everything is very clear, and simple. What about the balance after equalization? Do I need to compensate for the level change after the equalizer?
Subjective question:
Why do you and so many people have the Hats before the Toms in the track order?
Always made sense for me have my toms after snare and before hats, have a split between shells and cymbals, but I see so many put Tom tracks after hats and I don't know why.
If you were to spot mic the other cymbals, would you place them between hats and toms or between toms and Oh's?
Maybe because kick,snare and hi-hat are the base of a rhythm.Toms are played only occasionally and as such are not a part of a sound.
Great video! I'm wondering how to use drum samples on mix when mics have taken the whole of a drum on a song.
really cool video, that 100Htz boost on snare is an ace, usually I look more for troubled frequency on Room and OH to take away roominess! thanks for this awesome video. Is there a little compression on Snare top on the way in?
Hi Warren, what's your opinion on gating each drum to get rid of the bleed?
Another Anon if it’s necessary then yes, of course!!
@@Producelikeapro It probably works best in the context of rock and metal, if you want those huge pounding hits (:
Loved it! Interested in, if you use gating on drums and if you do when and where? Much love! ❤
Any thoughts on mixing into a drum bus compressor?
Hi Elijah, definitely! I wanted this to be super simple!! More advanced techniques can show off compression as well!
Hi Warren! Thanks for that. So when mixing through a bus comp at say 4:1 with 2db of GR would you radically alter your drum eq moves than if not?
Elijah...I can't speak for Warren, but I would say eq it so it sounds good. The fundamentals of what he is showing will be the same and if it sounds good to crank or cut like mad do it...don't be afraid or timid...you can always go back. I've watched Chris Lord Alge use multiple channels of eq because he wanted more high end out of a snare drum and we all know he loves him some compression! just my .02
Right, I hear that. Thanks Shane 😊
I definitely need help with this. Thanks as always, Warren.
Just brilliant Warren, thanks so much.
its funny when you mentioned the 220hz which is Neve frequency very used on snares...I use a plugin called PSP Classic Q which its basically an emulation of the 1073 ...and even if try another eq points on snares ..it always comes down to that freq. area. 7 out 10 times end up using Psp classic Q just for that. Very interestingly most of the albums I love where mixed using 1073 eqs, so we can say thats the sound im always aiming for.
Thanks Isaac! Yes, I love those Neve EQ points! So musical!!
@@Producelikeapro Yeah they are. I tried using the Waves API for some time and the only use I could give to the 550a was on some Rhodes and specially toms. But the Neve eq points never has failed for me. That type of eq , plus a pultec style eq and I can mix an entire album very confident.
Will you need to dial down the overheads to counteract the cymbal bleed?
Funny, I watched this 2 years ago I think. I had no idea what you were doing. Lots of training later, it all makes sense and I'm happy to notice I do the same things as you mostly. In a different order, I Highpass before I bring up any lowend.
Also I cheat a bit with transient designers, but that's not eq so it's a bit off topic.
Edit: haha uploaded Nov 4 2019 ! I can't have watched this 2 years ago. But I remember videos of you, and I was puzzled. I'm happy now I watch videos of you and you don't speak an alien language anymore.
Great job Warren!!!! As eq is related to tones, I suggest any drummer to do solfeggio, so their tone/pitch is developed, so you can tune your drums (beside the handy tunetools nowadays). Psp Audioware has a handy plugin for use it on not so well tuned drums:PSP hertzrider...;)
You can also duplicate the overheadstrack and cut the toms out with nice fade in fade outs...Or in another phase of your mixingprocess: add samples than on those tomtracks and even tune them to the original...:)
Awesome!, I just got a drum vst that has pretty much the same microphone options for the samples, thanks!
Killer video. So simple and it sounds great. Nuff said!
Thanks ever so much
Excellent! Inspiring video, as always Warren :D someone would say that some of the eq moves are pretty drastic, but as you often say, you should always listen with your ears, not your eyes. A question: do you ever use gate on drums, for example on kick or snare, where there's a lot of cymbal bleed, because then you could boost some higher frequencies to get the sometimes wanted clickeeness? if yes or no, why? thanks again for these great videos, cheers from Croatia :D
also, if you do gate drums, where in the plugin chain does the gate go? in the beginning, after the eq or somewhere else?
Great video
Warrent from colombia i dont speak english . But i traslated with traduct and are good you tutorials greet congratulations from bogota colombia
Hi Warren - great video, great technique - so the question I have is would I apply this "focused" or "surgical" eq before I compress or after. I know and understand the arguments for pre or post compression but I have had really great eq'd drums when soloed but get buried when full band comes in; without compression. Also, if I apply compression after EQ it, of course, changes the sound of a finley EQ'd set. Thoughts?
What is the key command / way to toggle and turn on and off all inserts and processing on pro tools? Thanks
Awesome Vid. Thanks again Warren
Thanks ever so much
Awesome video, Warren! I always like a refresher on drum EQ. We drummers can only count to four, after all. (-; Thanks!
What your opinion on the order of plug-ins on a track ?? EQ before compression or vice versa ??
This is really good -- totally saved my kick and toms!
Man....You're really Know. Thanks Warren.
Can't wait to try these tips, great stuff Warren!
Hi Warren love the channel! Do you have any tips on how to get that Simon Phillips big bass drum sound?